Articles de revues sur le sujet « Crime nexus terror »

Purpose The literature on terrorism suggests a strong link between criminal offending and terrorism – the crime-terror nexus. Building upon a strain theory perspective, the purpose of this paper is to suggest that devalued socio-economic status (i.e. limited education and unemployment) and criminal past define the pool of people from which violent and terror offenders may be recruited. Design/methodology/approach The current study compares three sources of data on educational and employment characteristics of violent and terror offenders: Dutch statistical data (CBS) including the Police Recognition System (HKS) on violent criminals, the findings on jihadist networks and the open access on European terrorists. Findings The majority of Dutch violent offenders, foreign fighters and European terrorists have only completed secondary school (or lower) and were unemployed in the year of offending. Half of recent European terrorists had previously been involved in violent crimes and/or had joined jihadi groups abroad. Research limitations/implications One limitation of the study concerns the exploratory use of secondary and open-access data. While it was impossible to establish causality with the current methodology, these findings highlight the background conditions under which violent and terrorist crime can originate, and suggest one of the mechanisms that shapes the crime-terror nexus. Future research would benefit from more work identifying the causal antecedents to terrorism. Practical implications Whether relative deprivation is a direct cause or merely an amplifying factor in criminal motivation needs to be scrutinized in future research. However, its consideration may have great implications for policy and law enforcement agencies. Social implications An individual’s desire to improve status and personal significance by the virtue of illegal activity may be particularly salient in the context of cultural polarization, which manifests as decreased trust and loyalty toward national laws and institutions. Parallel to preventive and security measures, it may be worthwhile to encourage multicultural associations and community networks in support of mutual (interethnic and interreligious) understanding. Originality/value The paper explores one of the oldest factors that has been suspected of leading to terrorism in lack of economic or educational opportunity. However, the paper also offers a new perspective on how these factors may relate to participation in terrorism. Rather than claiming these factors directly cause terrorism, the authors take a strain theory perspective to argue that these strains induce fewer opportunities to engage in terrorism and provide individuals with the skills/strength to resist de-radicalization or counter-radicalization.

Purpose This paper aims to examine the shift away from the traditional distinction between organised crime and terrorist groups towards their conceptual convergence under the crime-terror nexus narrative in the context of international security and development policy in post-Soviet Central Asia. It assesses the empirical basis for the crime-terror and state-crime nexus in three Central Asian countries – Kyrgyzstan, Tajikistan and Uzbekistan – and argues that the exclusion of the state from the analytical framework undermines the relevance of the crime-terror paradigm for policy-making. Design/methodology/approach This paper draws on a literature review of academic research, recent case studies highlighting new empirical evidence in Central Asia and international policy publications. Findings There is a weak empirical connection between organised crime and Islamic extremists, such as the Islamic Movement of Uzbekistan and Hizbut Tahrir, in Central Asia. The state-crime paradigm, including concepts of criminal capture, criminal sovereignty and criminal penetration, hold more explanatory power for international policy in Central Asia. The crime-terror paradigm has resulted in a narrow and ineffective security-oriented law enforcement approach to counter-narcotics and counter-terrorism but does not address the underlying weak state governance structures and political grievances that motivate organised crime and terrorist groups respectively. Originality/value International policy and scholarship is currently focussed on the areas of convergence between organised crime and terrorist groups. This paper highlights the continued relevance of the traditional conceptual separation of terrorist and organised crime groups based on their different motives, methods and relationship with the state, for security and democratic governance initiatives in the under-researched Central Asian region.

Empirical evidence confirms that in Europe there are growing links between criminal organizations (OCs) and terrorist groups (GTs) – known as the “crime-terror nexus”. After the end of the Cold War and, particularly, since global financial operations came under greater control, the financing of illicit and criminal actions has consequently been conditioned. This resulted in greater proximity and cooperation between OCs and WGs not only in fragile states or undemocratic regimes, but in the western democracies themselves. The article also analyzes the content of the judicial sentences on cooperation and collusions between terrorist groups and criminal organizations.

The article deals with complex dynamics of interaction and evolution of extremist groups in the context of clan-cast structures of Tuareg and sub-Saharan Arabs. The “war on terror” has long posed the problem of data misrepresentation in the studies of “Al-Qaeda in land of Islamic Maghreb”. Resilience and fragmentation of this and other terrorist organizations, the trajectory of their divisions and alliances can be only understood in the context of their connection with local elites, ethnic rivalries, reasons of youth recruitment, foreign and domestic resource generating practices. This context-sensitive approach is generally missing in the crime-terror nexus studies. There is little or no ideology-free and reliable information in the field of counter-terrorism - every single fact demands verification. To this end, the research applies the methods of a triangulation of primary and secondary sources and a systematic chronological and contextual investigation of all the facts, events and personalities referred. Contrary to the widespread wisdom, strategies of survival used by different actors in the Sahara-Sahel zone are incompatible with the crime-terror nexus models. The conceptual framing of terror-groups as hybrid, crime-terror enterprises, is misleading because it obscures the pivotal function of hard-core jihadists as a backbone of the whole structure. Parting with one extremist organization, they create another one or seek to establish new alliances to support their cause and terror activities. Not exclusively ideology or pragmatism constitutes the basis of these alliances, but as well local clan-cast structures. The research is relevant for the current political situation in Mali, Niger, Burkina Faso, and adjusted regions of Algeria and Mauritania.

This article seeks to map the possible bottlenecks for international legal cooperation in the context of terrorism and/or organized crime. The assumption is that – because of the crime–terror nexus – any obstacle encountered in that area with respect to the suppression of one form of criminality will backfire on the other form as well. After addressing the indefinite concept of terrorism, and its connection with organized crime, we will look at extraterritorial jurisdiction and international cooperation in criminal matters. In the final section, we will offer a number of concluding observations.

Afghanistan has been demolished by more than three decades of the ongoing war since the war against the Soviet Union started in 1979. The Afghanistan-Pakistan region provides a geographically secure location and a space of opportunity for organized crime and terrorist groups. This paper aims at exploring the Taliban nexus with organized crime groups in Afghanistan and the region through Makarenko’s crime-terror continuum theory. The method of this study is qualitative through the descriptive-analytical approach. The growing connection between insurgents and organized crime poses essential challenges to the region. Each group has developed both criminal and terrorist elements while not relinquishing its original organizing principle. Afghanistan is a war-torn country and weak governance, terrorism, narcotics, illegal mining, poor border control, and widespread corruption provide the perfect opportunity for convergence of the Taliban with organized criminal and insurgent groups in the region. The Taliban and organized crime groups are involved in kidnapping for ransom, drug trade, extortion, and exploitation of natural resources. The finding indicates that, although the objectives of the insurgent and organized crime organizations differ widely, these enabling variables are also suitable for organized crime organizations. The primary objective of organized crime is to gain profit, and the objective of the insurgent is to contest the state power and promote political change through violence. The economic sources are the primary main reason why the two organizations converge.

This article assesses the concepts of militarism and militarization in relation to contemporary security interventions in the Sahel, a region increasingly understood through the prisms of violence, cross-border illicit flows, and limited statehood. This region is subject to security interventions that include French military action, EU-funded projects to prevent drug trafficking, and both bilateral and multilateral efforts against irregular migration. To many observers, it is experiencing an ongoing militarization. We argue that while the inextricable concepts of militarism and militarization go some way towards explaining interventions’ occasional use of military violence, they are limited in their grasp of the non-martial and symbolic violence in security practices. We instead propose a focus on assemblages of (in)security to show the heterogeneous mix of global and local actors, and often contradictory rationalities and practices that shape the logics of symbolic and martial violence in the region. Throughout, the article draws on the authors’ fieldwork in Mauritania, Senegal, and Niger, and includes two case studies on efforts against the Sahel’s ‘crime–terror nexus’ and to control irregular migration through the region. The article’s contribution is to better situate debates about militarism and militarization in relation to (in)security and to provide a more granular understanding of the Sahel’s security politics.

Purpose The purpose of this paper is to use nearly a century’s worth of gang research to inform us about modern terrorist groups, specifically the Islamic State of Iraq and Syria (ISIS). Design/methodology/approach A case study approach is employed, comparing and contrasting the competing theoretical frameworks of gangs and terrorist organisations to understand group structure, demographics, patterns of behaviour (e.g. territoriality, strategic, and instrumental violence), goals, and membership patterns of ISIS. Findings The qualitative differences of ISIS make them more comparable to street gangs than other terrorist groups. Practical implications ISIS, while being qualitatively different from other terrorist groups, actually has many similarities with street gangs allowing for the adaptation of effective gang prevention, intervention, and suppression strategies. This paper highlights how the expansive literature on street gangs is able to inform practical interventions to directly target ISIS and deradicalise potential recruits. By introducing a gang-terror nexus on the crime-terror continuum, this paper provides a useful perspective on the decentralised but dynamic nature of modern era insurgencies. This paper urges similar case studies of terrorist organisations to determine the extent to which they conform to street gang characteristics. Originality/value Terrorist groups are often compared to street gangs, yet it has not been until the last few years that gang researchers (Curry, 2011; Decker and Pyrooz, 2011, 2015a, b) have begun to compare and contrast these two deviant group archetypes. The goal of this paper is to use nearly a hundred years of gang research to better equip scholars and practitioners with a broader understanding of terrorism and insurgency in the era of globalisation by presenting a case study of ISIS using a street gang perspective.

This lecture explores the place of justice, accountability and remedies in the global agenda against terror, illustrated by a case study on Iraq and the Islamic State in Iraq and the Levant (ISIL.) The two international regimes traditionally applicable to the acts of armed groups, including “terrorist groups”, are international criminal law and international humanitarian law. The lecture argues that they carry each strong limitations, such as those related to the ‘‘armed conflict’’ nexus requirement. This lecture shows that a third regime, international counter-terrorism, has developed over the last two decades and become the de facto legal regime for armed non-State actors. This regime has displaced and weakened international humanitarian and criminal law while further eroding victims’ protection and accountability. The lecture further suggests that all three legal frameworks fail to capture the nature of control exercised by armed groups such as ISIL, and the extent of their functions, including those amounting to governance. The lecture argues that such functions can best be apprehended through international human rights law (IHRL). Tracing armed groups’ human rights obligations and legal personality to treaty and customary law, the lecture concludes with proposals to hold armed groups accountable under IHRL as well as possible approaches to strengthen accountability for crimes committed by ISIL.

Abstract What are the conditions that obstruct the formation of a crime-terror nexus? To answer this question we carry out a quantitative and qualitative analysis of Russia's North Caucasus (2008–2016) where no durable crime-terror nexus materialized despite the presence of conditions conducive to the emergence of linkages between criminals and militants. We demonstrate how the sheer diversity and fluidity of violent actors, with some deeply immersed in the political, economic, and security institutions of the Russian state, fragmented the elements of a crime-terror nexus to such a degree that collaboration among them proved too difficult and costly. Our argument makes several contributions to analyses of the crime-terror nexus. First, our study illuminates the various actors within a purported nexus, demonstrating how cooperation between them may not be forthcoming. Second, our framework demonstrates how a multiplicity of the centers and agents of state power, both formal and informal, is intimately interwoven into the fragmented security landscape. Third, the diversity of the so-called terrorist and militant groups that are competing for power and resources call for rethinking and reconceptualization of what we call a “terrorist group” and the data that we use to study terrorist violence.

Abstract The post–Cold War environment has ushered in an era of threats from terrorism, organized crime, and their intersections giving rise to the growing literature on the so-called crime–terror nexus. This article takes stock of this literature, assesses its accomplishments and limitations, and considers ways to deepen it conceptually, theoretically, and empirically. To challenge assumptions informing the crime–terror studies and suggest avenues for future research, the article draws on ideas from the scholarship on political economies of violence. These insights are used to probe the (1) non-state actors that form the crime–terror nexus, (2) conditions under which the nexus is likely to emerge, and (3) varied effects of criminal–terrorist intersections. The article emphasizes the ties of criminal and terrorist groups to local politics, society, and economy, and relationships of competition, rather than cooperation, which often characterize these ties. The conditions under which these groups operate cannot be understood without considering the role of the state in criminal–terrorist constellations. The structure of resource economies influences both the preferences of terrorist groups for crime and the consequences of terrorist–criminal convergence, which are also mediated by state participation in crime.

The heightened control of financial transactions in the post 9/11 society significantly curbed the fund-raising activities aimed at financing terrorism. Terrorist groups were forced to evolve and find new ways of financing their activities, while transnational criminal organizations adapted to the new circumstances by turning into powerful hybrid criminal-terrorist entities. These traditionally separate phenomena have begun to reveal many operational and organizational similarities. Globalization of the economy has created favorable conditions for terrorist organizations and criminal groups to coordinate their activities, to cooperate and share their resources, whereas both national and international legislation have unfortunately failed to keep pace with the evolving development of crime and terrorism. This article aims to examine the individual characteristics of organized crime and terrorism by pointing out to their similarities and differences, and to analyze the complexity of the crime-terror nexus. Adequate anti-terrorist and anti-criminal policy at the national level as well as globally rests on understanding each problem separately as well as their versatile correlations. Otherwise, there is a risk of a theoretical "fusion" of one problem into another which may generate problems in combating organized crime and terrorism. The author highlights the importance of acknowledging and understanding the link between crime and terror groups as the first step towards formulating an effective state response to this evolving threat.

This paper examines the phenomenon of crime–terror nexus from the standpoint of the linkage between banditry and Boko Haram insurgency in Northern Nigeria. Using a descriptive analysis predicated on a combination of primary and secondary studies, the paper reveals that both groups have functionally adapted each other’s structures and strategies. While Boko Haram and its splinter groups have occasionally engaged in acts of banditry, there has been mutual co-option by both groups as the exigencies of their operations demand. Nigeria’s drive at mitigating the banditry-terrorism conundrum must proceed with a pragmatic understanding of the gamut and dynamics of their situational nexuses.

It is widely acknowledged that factors such as previous offending and unemployment increase the risk of offending, but it remains unclear to what extent this also holds true for terrorist suspects. Using register-data on individuals suspected of a terrorist offense in the Netherlands, the present study takes on a life-course criminological approach to study the background and criminal career of terrorist suspects. Moreover, we compare their background to that of general criminal suspects and members of the general population. Our findings support the idea of a “new” crime-terror nexus at the individual level and show similarities between terrorist suspects and regular suspects.

Abstract Many studies have examined why individuals with a background in street life and crime are drawn toward extremism. This paper examines why most people with this background reject extremism. Based on ethnographic fieldwork in Oslo, we found that Muslims involved in street culture were generally opposed to jihadism because they perceived jihadists as evil people who harm innocents; bad Muslims who defame Islam; and cowards who break the ‘code of the street.’ This opposition resulted in avoidance behaviours, criticism and, sometimes, violence against suspected jihadists. We argue that research on the crime-terror nexus has focussed too narrowly on the similarities between street culture and jihadism, contributing to a distorted image of Muslims involved in street culture as potential terrorists.

An important question underlies the potential for a successful peace process in Afghanistan: If political negotiations between the Taliban leadership and the Afghan government succeed, will fighters in the field cease their activities, especially illicit funding practices, and accept government legal authority? Interviews conducted in early 2014—well before the announcement of Mullah Omar’s death or the appearance of Islamic State in the region—indicate that a wide gulf separates the motivations of low-level insurgents from their leadership’s ideological objectives. The rank and file fight for multiple reasons, the most significant of which is the financial advantage of association with the movement. Recent studies of the economics of insurgency describe a crime-insurgency-terror nexus that applies to the contemporary Afghan context, albeit requiring adjustment to account for the distinctive political circumstances and wartime history of Afghanistan. [D74, F51, F52, O53, Z10]

When the state cannot provide adequate security, or citizens do not trust the state to do so, alternatives have been sought. In most cases, the alternatives lie in the nexus between the rich and the poor who opt for private security companies or vigilante groups (or gangs) respectively. Vigilantes have dominated security spaces in urban slums and rural areas in Kenya. This paper focuses on the discourse of Sungusungu vigilante groups in Kisii with reference to the Suneka township from the late 1990s to the present. The study that directed this paper was qualitative. Primary data were obtained using in-depth interviews, while secondary data were collected through a review of relevant literature. Irony was revealed through the way Sungusungu managed to control crime considerably within the short time of their emergence in Kisii, which the state had failed to address adequately. Thus, resenting attitudes were expressed towards the state. Secondly, after controlling crime rates, Sungusungu ironically engaged in the same crimes, besides degenerating into other illegal activities, including extortion, torture and illegal arrests. Consequently, the government dissociated from Sungusungu, banned them and reorganised community policing groups. Strangely, some members of Sungusungu found their way into community policing groups. Over time, Sungusungu have been associated with different identities, including community policing and Nyumba Kumi (Ten Households) on the one hand, and terror groups, underground movements, extortionists and “these people” on the other hand. There is no clear-cut identity difference between Sungusungu and community policing. As a result, the term “sungusungu” has been used as a generic identity for community policing, Nyumba Kumi or any group of people who partner with the state in the maintenance of social order in the community. Still, the debate around Sungusungu, community policing and Nyumba Kumi remains fluid and hazy, and as Kenya approaches the 2022 general elections, Sungusungu are getting involved in the murky waters of politics.

‘Country’ is a word that is made to do much discursive work. In one common configuration, country is synonymous with ‘rural’, also evinced through terms like countryside and country-minded. Yet, at the same time, country is synonymous with ‘nation’. This usage is more emotive and identificatory than administrative, as in ‘my country’, ‘my land’, ‘my homeland’. Augmenting a sense of national allegiance, this use of country evokes something of the connection between people, landscape, belonging, identity and subjectivity. Moreover, country-as-rural(ity) and country-as-nation(ality) have significant overlaps. The rural landscape – the countryside – is often imagined as the ‘heartland’ of the modern Western nation-state – a source of national identity and a storehouse for values ‘lost’ through the experience of progress, modernity and industrialisation (Bell). Here, the countryside, supposedly, is a traditional material and discursive site for family, community and well-being (Little and Austin). From yet another angle, country is a genre or style, as in country music, country and western film, country living, country comfort and country cooking. In this way, country becomes a commercial selling point and a commodified imaginary – although this is not at all mutually exclusive with the evocation of belonging, identity and national cultural values through the countryside. This commodification is seen in the recent revaluing of country getaways (McCarthy), sea-change (Burnley and Murphy) and tree-change (Costello), which in turn invokes the notion of country as a store of traditional values, moral restoration and physical revitalisation. Clearly, then, these multifaceted invocations of country – as rurality, nationality and commodity – interleave and overlap in various and complex ways. The papers comprising this issue of M/C Journal seek to explore the intermingling discourses of country, and how these have changed (and continue to change) over time and between places. Indeed, many of these meanings have heightened importance in the present cultural and political moment, and the contents of the papers draw attention to these emerging currencies. Country-as-nation(ality) – and as homeland – is reinforced in the current context of social unrest around terror, security, minority political rights, and climate change threats. And as people search for anchors of security, reinvestments are made in the ‘authenticity’ of rurality and rural communities as sources of both personal respite and wider national cultural values. This has flow on effects in the sphere of the cultural economy, where country living, rustic style and bucolic retreats are increasingly sought by cultural consumers. These affiliations between country, nation, rurality, security, community and consumption are critically interrogated in the subsequent papers. One key theme elicited across the collection is how country – as style, commodity, rurality and/or nationality – shapes social and cultural identities. Annabel Cooper, Chris Gibson, Loria Maxwell and Kara Stooksbury, Anthony Lambert and Catherine Simpson, and Andrew Gorman-Murray, explore the links between country and national identities, and how these interconnections take both similar and different contours across the United States, Europe and the Antipodes. In their papers, Cooper and Gibson also consider the connections between national identities, country style and gendered subjectivities. Simpson and Lambert, Michael Wesch and Clemence Due, meanwhile, draw attention to the links between land, country and Indigenous subjectivities. In doing so, Due and Lambert and Simpson, as well as Lelia Green, Gerry Bloustien and Mark Balnaves, elicit how discourses of country exclude particular identities, and leave certain social groups with a sense of unease. Terry Maybury, Donna Lee Brien and Jesse Schlotterbeck focus on the broader intermingling of rurality, regionality and identity. Another key theme traced through the papers is how county is also linked with a range of media and cultural commodities. Country music is most well-known in this regard, but also prominent are country and western films and country cooking. Several authors in this collection – Gibson, Maxwell and Stooksbury, and Brien – show the ongoing importance of these products, and their role in linking different notions of country across the scales and sites of the rural, the national and the transnational. Cooper, Schlotterbeck, and Lambert and Simpson reveal how ideas of country seep into films not specifically designated as country films, such as the noir, period and thriller genres. The deployment of country in a range of other cultural and media products is explored in this collection as well, including print news media (Due; Gorman-Murray), tourist promotions (Brien; Gorman-Murray), archival photographs (Gorman-Murray), statecraft (Wesch), and social mores and practices of belonging, attachment and alienation (Green et al; Maybury). Importantly, then, the papers in this collection, drawing on a range of data, entry points and conceptual lenses, explore the way different meanings and scales country overlap, and how notions of country ‘travel’ between places and contexts, in the process transforming and taking on new inflections. In the lead paper, Annabel Cooper explores the way country, national identities and feminine subjectivities come together in Jane Campion’s Portrait of a Lady. In this evocative discussion she shows how gender is modulated by national identities as much as other subjectivities, and moreover, how the insertion of an Antipodean femininity in the film version of Portrait reworked the geographical underpinnings of Henry James’ novel. She argues that the United States’ national self-imagination has moved on in the century between the novel and the film, and that Campion rearticulated the story through a feminine Antipodean lens. In Campion’s Portrait, notions of country and narratives of national femininities travel not only between the United States and Europe, but between the Americas and the Antipodes as well. Chris Gibson provides a complementary piece. Focusing on the imagery and lyrics of country sheet music in pre-war Australia, he shows how masculinities are inflected by discourses of both country-as-rurality and country-as-nation. In this case, images of masculinities from the American West insinuated into Australia through the trans-Pacific transaction of country music, particularly in the simultaneously visual and oral register of sheet music. For both Gibson and Cooper, country, whether associated with rurality or nationality, is not singularly emplaced, but travels transnationally as well. Lori Maxwell and Kara Stooksbury also turn their attention to country music. In their case the focus is contemporary country music in the United States, and the role this genre and its artists has played in recent American political culture, particularly Republican positions on ‘love of country’ and national allegiance. Their analysis shows how country, as a commodity linked with a particular species of rurality, is used by presidents, politicians and commentators to frame discourses of patriotic nationalism and appropriate notions of American belonging. Also focusing on cultural production in the United States’ context, Jesse Schlotterbeck critically examines the diverse roles of rurality and rural places in film noir, helping to define a subgenre of ‘rural noir’. He not only discusses the deployment of the rural in noir as a place of goodness, decency and traditional values, but also how the rural is simultaneously drawn into networks of crime, and even becomes a haven for criminality. This adds to work which challenges the romantic idyllisation of the countryside as a site of moral integrity and a store of ‘proper’ national cultural values. Anthony Lambert and Catherine Simpson similarly raise the spectre of criminality in the countryside through film analysis, but their focus is on the Australian film Jindabyne and the associated geographical context of the Australian Alps. The issues around criminality and country(side) in their analysis is broader than legal transcendence, encompassing contemporary cultural politics and social justice. Jindabyne’s narrative focus on the murder of a young Aboriginal woman provides a catalyst for interrogating Indigenous dispossession, postcolonial race relations, environmental change, and the shifting senses of belonging to country for settler Australians negotiating this ‘aftermath culture’. Andrew Gorman-Murray also concentrates on the Australian Alps, and explores the changing links between this countryside and national identity in a postcolonial settler society, but his cultural political context and catalyst are different: the threats to landscape, country and national values from imminent climate change impacts in the Australian Alps. Cultural dimensions and meanings of climate change are an emerging and important research concern (Hulme), and his analysis demonstrates how national identities and ideals of country(side) are reconfigured through the anticipated effects of climate change on the landscape. The next few papers turn to minority or Indigenous social groups’ belonging and attachment to country, both as nation and (home)land, through various experiences of insecurity. Lelia Green, Gerry Bloustien and Mark Balnaves discuss their survey finding that Jewish-Australians express the highest level of fear amongst religious groups in this country. Analysing both survey responses and additional narratives, they comprehensively interpret this heightened fear through intersecting contemporary processes of terror, insecurity, anti-Semitism, and diasporic community-formation, which collide in the context of cultural and political rhetoric about national homeland security. Complimenting both this paper and Simpson and Lambert’s discussion, Clemence Due considers the vexed question of who can lay claim to country in Australia – understood at-once as the nation, the rural countryside, and its resources – in the cultural political context of Indigenous dispossession and native title issues. She examines how this debate – about negotiating Indigenous rights to country in a political and legal context of white sovereignty – has been depicted in The Australian during 2008. Michael Wesch explores similar tensions between government authority and Indigenous sovereignty in a different context, that of New Guinea. His ethnographic analysis is evocative, showing the quite different concepts of country deployed by the state and local peoples in relation to land, settlement and governance, where Indigenous relational connections to land and belonging rub up against the categorical imperatives of statecraft. The final two papers return to rural and regional areas of Australia, and consider embodied connections to place for settler Australians. Situating her discussion within the academic arenas of food studies and the cultural economy, Donna Lee Brien provides an illuminating analysis of the role and significance of rural and regional chefs within their local communities. Her geographical focus is Armidale and Guyra, in northern New South Wales. Linking country as a generic commodity and as a rural locality, she shows how ‘foodie culture’ is not merely a tourist drawcard, but also deeply implicated in the maintenance of the local community. Terry Maybury, meanwhile, delivers a provocative discussion of the links between country, regionality and belonging through a diagrammatical analysis of ‘home’ – home understood as both “the virtuality of digital flows and the reality of architectural footings.” In this conceptualisation, home provides a nexus for self in a global/regional network, the site which allows one to gather the various elements, scales and nuances of country together in a comprehensible fashion. Home, in this way, lies at the heart of country, and makes sense of all its multifarious and interleaving dimensions and meanings. I would also like to acknowledge and thank Rohan Tate, our cover artist, for providing a photographic montage of ‘country’ which draws together the various strands explored through this collection – as nationality, rurality and commodity. The collection of various signifiers and objects prompts one to question what country is and where it is to be found. I extend thanks to those who reviewed the submissions for this issue. I trust the readers find this collection of papers as stimulating as I have. I hope the juxtaposition of various takes on country, and discussions of how those meanings and experiences intermingle, prompt further exploration and conceptualisation of the discursive and material significance of country in contemporary society and culture. References Bell, David. “Variations on the Rural Idyll.” Handbook of Rural Studies. Eds. Paul Cloke, Terry Marsden and Patrick Mooney. London: Sage, 2006. 149-160. Burnley, Ian and Peter Murphy. Sea Change: Movement from Metropolitan to Arcadian Australia. Sydney: UNSW Press, 2004. Costello, Lauren. “Going bush: the implications of urban-rural migration.” Geographical Research 45.1 (2007): 85-94. Hulme, Mike. “Geographical work at the boundaries of climate change.” Transactions of the Institute of British Geographers 33.1 (2008): 5-11. Little, Jo and Patricia Austin. “Women and the Rural Idyll.” Journal of Rural Studies 12.1 (1996): 101-111. McCarthy, James. “Rural Geography: Globalizing the Countryside.” Progress in Human Geography 32.1 (2008): 129-137.

The whole problem of speaking about the end…is that you have to speak of what lies beyond the end and also, at the same time, of the impossibility of ending. Jean Baudrillard, The Illusion of the End(110) Jean Baudrillard’s insights into finality demonstrate that “ends” always prompt cultures to speculate on what can or will happen after these terminations and to fear those traumatic ends, in which the impossible actually occurs, may only be the beginning of chaos. In the absence of “rational” explanations for catastrophic ends and in the whirlwind of emotional responses that are their after-effects, the search for beginnings and origins – the antitheses of Baudrillard’s finality – characterises human response to tragedy. Strangely, Baudrillard’s engagement with the end is linked to an articulation predicated on our ability “to speak” events into existence, to conjure and to bridle those events in terms of recognisable, linear, and logical arrangements of words. Calling this verbal ordering “the poetry of initial conditions” (Baudrillard 113) in which memory imposes a structure so that the chaotic/catastrophic may be studied and its elements may be compared, Baudrillard suggests that this poetry “fascinates” because “we no longer possess a vision of final conditions” (113). The images of contemporary catastrophes and their subsequent visualisation serve as the ultimate reminders that we, as viewers and survivors, were not there – that visualisation itself involves a necessary distance between the horrified viewer and the viewed horror. In the case of the September 11, 2001, attacks on the World Trade Centre, the need to “be there,” to experience vicariously a trauma as similarly as possible to those who later became its victims, perhaps explains why images of the planes first slamming into each of the towers were played and repeated ad nauseam. As Baudrillard suggests, “it would be interesting to know whether…effects persist in the absence of causes … whether something can exist apart from any origin and reference” (111). The ongoing search for these causes – particularly in the case of the World Trade Centre’s obliteration – has manifested itself in a persistent cycle of image production and consumption, prompting those images to serve as the visible/visual join between our own survival and the lost lives of the attacks or as surrogates for those whose death we could not witness. These images frequently allowed the West to legitimise its mourning, served as the road map by which we could (re-)explore the halcyon days prior to September 11, and provided the evidence needed for collective retribution. Ultimately, images served as the fictive embodiments of unseen victims and provided the vehicle by which mourning could be transformed from an isolated act to a shared experience. Visitors on the Rooftop: Visualising Origins and the Moments before Destruction It goes without saying that most have seen the famous photograph of the bundled-up tourist standing on the observation deck of the World Trade Centre with one of the jets ready to strike the tower shortly thereafter (see Figure 1). Though the photograph was deemed a macabre photo-manipulation, it reached thousands of e-mail inboxes almost two weeks following the horrific attacks and led many to ponder excitedly whether this image truly was the “last” image of a pre-September 11 world. Many openly debated why someone would fabricate such an image, yet analysts believe that its creation was a means to heal and to return to the unruffled days prior to September 11, when terrorism was thought to be a phenomenon relegated to the “elsewhere” of the Middle East. A Website devoted to the analysis of cultural rumours, Urban Legends, somewhat melodramatically suggested that the photograph resurrects what recovery efforts could not re-construct – a better understanding of the moments before thousands of individuals perished: The online world is fraught with clever photo manipulations that often provoke gales of laughter in those who view them, so we speculate that whoever put together this particular bit of imaging did so purely as a lark. However, presumed lighthearted motives or not, the photo provokes sensations of horror in those who view it. It apparently captures the last fraction of a second of this man’s life ... and also of the final moment of normalcy before the universe changed for all of us. In the blink of an eye, a beautiful yet ordinary fall day was transformed into flames and falling bodies, buildings collapsing inwards on themselves, and wave upon wave of terror washing over a populace wholly unprepared for a war beginning in its midst…The photo ripped away the healing distance brought by the nearly two weeks between the attacks and the appearance of this digital manipulation, leaving the sheer horror of the moment once again raw and bared to the wind. Though the picture wasn’t real, the emotions it stirred up were. It is because of these emotions the photo has sped from inbox to inbox with the speed that it has. (“The Accidental Tourist”) While the photograph does help the viewer recall the times before our fears of terrorism, war, and death were realised, this image does not episodically capture “the last fraction of a second” in a man’s life, nor does it give credibility to the “blink-of-an-eye” shifts between beautiful and battered worlds. The photographic analysis provided by Urban Legends serves as a retrospective means of condensing the space of time in which we must imagine the inevitable suffering of unseen individuals. Yet, the video of the towers, from the initial impacts to their collapse, measured approximately 102 minutes – a massive space of time in which victims surely contemplated escape, the inevitability of escape, the possibility of their death, and, ultimately, the impossibility of their survival (“Remains of a Day” 58). Post-traumatic visualising serves as the basis for constructing the extended horror as instantaneous, a projection that reflects how we hoped the situation might be for those who experienced it, rather than an accurate representation of the lengthy period of time between the beginning and end of the attacks. The photograph of the “accidental tourist” does not subscribe to the usual tenets of photography that suggest the image we see is, to quote W.J.T. Mitchell, “a purely objective transcript of reality” (Mitchell 281). Rather, this image invites a Burginian “inva[sion] by language in the very moment it is looked at: in memory, in association, [where] snatches of words and images continually intermingle and exchange one for the other” (Burgin 51). One sees the tourist in the photograph as a smiling innocent, posing at the wrong place and at the wrong time. Through that ascription, viewers may justify their anger and melancholy as this singular, visible body (about to be harmed) stands in for countless, unseen others awaiting the same fate. Its discrepancies with the actual opening hours of the WTC observation deck and the positioning of the aircraft largely ignored, the “accidental tourist” photo-manipulation was visualised by countless individuals and forwarded to a plethora of in-boxes because September 11 realities could not be shared intimately on that day, because the death of aircraft passengers, WTC workers, and rescue personnel was an inevitable outcome that could not be visualised as even remotely “actual” or explainable. Computer-based art and design have shown us that approximations to reality often result in its overall conflation. Accordingly, our desperate hope that we have seen glimpses of the moments before tragedy is ultimately dismantled by an acknowledgement of the illogical or impossible elements that go against the basic rules of visualisation. The “accidental tourist” is a phenomenon that not only epitomises Baudrillard’s search for origins in the wake of catastrophic effects, but underscores a collective need to visualise bodies as once-living rather than presently and inevitably dead. Faces in the Smoke: Visualising the Unseen Although such photo-manipulations were rampant in the days and weeks following the attack, many people constructed their own realities in the untouched images that the media streamed to them. The World Trade Centre disaster seemed to implore photography, in particular, to resurrect both the unseen, unremembered moments prior to the airliners’ slamming into the building and to perform two distinct roles as the towers burned: to reaffirm the public’s perception of the attack as an act of evil and to catalyse a sense of hope that those who perished were touched by God or ushered peacefully to their deaths. Within hours of the attacks, photographic stills captured what many thought to be the image of Satan – complete with horns, face, eyes, nose, and mouth – within the plumes of smoke billowing from one of the towers (see Figure 2 and its detail in Figure 3). The Associated Press, whose footage was most frequently used to reference this visual phenomenon, quickly dismissed the speculation; as Vin Alabiso, an executive photo editor for AP, observed: AP has a very strict policy which prohibits the alteration of the content of a photo in any way…The smoke in this photo combined with light and shadow has created an image which readers have seen in different ways. (“Angel or Devil?”) Although Alabiso’s comments defended the authenticity of the photographs, they also suggested the ways in which visual representation and perception could be affected by catastrophic circumstances. While many observers openly questioned whether the photographs had been “doctored,” others all too willingly invested these images with ethereal qualities by asking if the “face” they saw was that of Satan – a question mirroring their belief that such an act of terrorism was clear evidence of evil masterminding. If, as Mitchell has theorised, photographs function through a dialogical exchange of connotative and denotative messages, the photographs of the burning towers instead bombarded viewers with largely connotative messages – in other words, nothing that could precisely link specific bodies to the catastrophe. The visualising of Satan’s face happens not because Satan actually dwells within the plumes of smoke, but because the photograph resists Mitchell’s dialogue with the melancholic eye. The photograph refuses to “speak” for the individuals we know are suffering behind the layers of smoke, so our own eye constructs what the photograph will not reveal: the “face” of a reality we wish to be represented as deplorably and unquestionably evil. Barthes has observed that such “variation in readings is not … anarchic, [but] depends on the different types of knowledge … invested in the image…” (Barthes 46). In traumatic situations, one might amend this analysis to state that these various readings occur because of gaps in this knowledge and because visualisation transforms into an act based on knowledge that we wish we had, that we wish we could share with victims and fellow mourners. These visualisations highlight a desperate need to bridge the viewer’s experience of survival and their concomitant knowledge of others’ deaths and to link the “safe” visualisation of the catastrophic with the utter submission to catastrophe likely felt by those who died. Explaining the faces in the smoke as “natural indentations” as Alabiso did may be the technical and emotionally neutral means of cataloguing these images; however, the spotting of faces in photographic stills is a mechanism of visualisation that humanises a tragedy in which physical bodies (their death, their mutilation) cannot be seen. Other people who saw photographic stills from other angles and degrees of proximity were quick to highlight the presence of angels in the smoke, as captured by WABC from a perspective entirely different from that in Figure 2 (instead, see Figure 3). In either scenario, photography allows the visual personification of redemptive or evil influences, as well as the ability to visualise the tragedy not just as the isolated destruction of an architectural marvel, but as a crime against humanity with cosmic importance. Sharing the Fall: Desperation and the Photographing of Falling Bodies Perhaps what became even more troubling than the imagistic conjuring of human forms within the smoke was the photographing of bodies falling from the upper floors of the North Tower (see Figure 5). Though newspapers (re-)published photographs of the debris and hysteria of the attacks and television networks (re-)broadcast video sequences of the planes’ crashing into the towers and their collapse, the pictures of people jumping from the building were rarely circulated by the media. Dennis Cauchon and Martha T. Moore characterised these consequences of the terrorist attacks as “the most sensitive aspect of the Sept. 11 tragedy … [that] shocked the nation” (Cauchon and Moore). A delicate balance certainly existed between the media’s desire to associate faces with the feelings of desperation we know those who died must have experienced and a now-numb general public who ascribed to the photographs an unequivocal “too-muchness.” To read about those who jumped to escape smoke and flames reveals a horrific and frightfully swift narrative of panic: For those who jumped, the fall lasted 10 seconds. They struck the ground at just less than 150 miles per hour – not fast enough to cause unconsciousness while falling, but fast enough to ensure instant death on impact. People jumped from all four sides of the north tower. They jumped alone, in pairs and in groups. (Cauchon and Moore) The text contextualises these leaps to death in terms that are understandable to survivors who read the story and later discover these descriptions can never approximate the trauma of “being there”: Why did they jump? How fast were they travelling? Did they feel anything when their bodies hit the ground? Were they conscious during their jump? Did they die alone? These questions and their answers put into motion the very moment that the photograph of the jumping man has frozen. Words act as extensions of the physical boundaries of the photograph and underscore the horror of that image, from the description of the conditions that prompted the jump to the pondering of the death that was its consequence. If, as Jonathan Crary’s analysis of photographic viewing might intimate, visualisation prompts both an “autonomy of vision” and a “standardisation and regulation of the observer” (Crary 150), the photograph of a man plummeting to his death fashions the viewer’s eye as autonomous and alive because the image he/she views is the undeniable representation of a now-deceased Other. Yet, as seen in the often-hysterical responses to the threats of terrorism in the days following September 11, this “Other” embodies the very possibility of our own demise. Suddenly, the man we see in mid-air becomes the visualised “Every(wo)man” whose photographic representation also represents our unacknowledged vulnerabilities. Thus, trauma is shared through a poignant visual negotiation of dying: the certainty of the photographed man’s death juxtaposed with the newly realised or conjured threat of the viewer’s own death. In terms of humanness, those who witnessed these falls firsthand recall the ways in which the falling people became objectified – their fall seemingly robbing them of any visible sense of humanity. Eric Thompson, an employee on the seventy-seventh floor of the South Tower, shared an instantaneous moment with one of the victims: Thompson looked the man in the face. He saw his tie flapping in the wind. He watched the man’s body strike the pavement below. “There was no human resemblance whatsoever,” Thompson says. (Cauchon and Moore) Obviously, the in-situ experience of viewing these individuals hopelessly jumping to their deaths served as the prompt to run away, to escape, but the photograph acts as the frozen-in-time re-visitation and sharing of – a turning back toward – this scenario. The act of viewing the photographs reinstates the humanness that the panic of the moment seemingly removed; yet, the disparity between the photograph’s foreground (the jumping man) and its background (the building’s façade) remains its greatest disconcerting element. Unlike those photographic portraits that script behaviours and capture us in our most presentable states of being, this photograph reveals the unwilling subject – he who has not consented to share his state of being with the camera. Though W.J.T. Mitchell suggests that “[p]hotographs…seem necessarily incomplete in their imposition of a frame that can never include everything that was there to be…‘taken’” (Mitchell 289), the eye in times of catastrophe shifts between its desire to maintain the frame (that does not visually engage the inferno from which the man jumped or the concrete upon which he died) and its inability to do so. This photograph, as Mitchell might assert, “speaks” because visualisation allows its total frame of reference to extend beyond its physical boundaries and, as evidenced by post-September 11 phobias and our responses to horrific images, to affect the very means by which catastrophe is imagined and visualised. Technically speaking, the negotiated balance between foreground and background in the photograph is lost: the desperation of the falling man juxtaposed with a seemingly impossible background that should not have been there. Lost, too, is the viewer’s ability to “connect” visually with – literally, to share – that experience, to see oneself within the contexts of that particular visual representation. This inability to see the viewing self in the photograph is an ironic moment of experiential possibility that lingers still in the Western world’s fears surrounding terrorism: when the supposedly impossible act is finally visualised, territorialised, and rendered as possible. Dead Art: The Destructions and Resurrections of Works by Rodin In many ways, the photographing of those experiences so divorced from our own contributed to intense discussions of perspective in visualisation: the viewer’s witnessing of trauma by means of a camera and photographer that captured the image from a “safe” distance. However, the recovery of artwork that actually suffered damage as a result of the World Trade Centre collapse prompted many art historians and theorists to ponder the possibilities of art’s death and to contemplate the fate of art that is physically victimised. In an anticipatory vein, J.M. Bernstein suggests that “art ends as it becomes progressively further distanced from truth and moral goodness, as it loses its capacity to speak the truth about our most fundamental categorical engagements…” (Bernstein 5). If Bernstein’s theory is applied to those works damaged at the World Trade Centre site, the sculptures of Rodin, so famously photographed in the weeks of excavation that followed September 11, could be categorised as “dead” – distanced from the “truth” of human form that Rodin cast, even further from the moral goodness and the striving toward global peace that the Cantor Fitzgerald collection aimed to embrace. While many art critics believed that the destroyed works should not be displayed again, many (including Fritz Koenig, who designed The Sphere, which was damaged in the terrorist attacks) believe that such “dead art” deserves, even requires, resuscitation (see Figure 6). Much like the American flags that survived the infernos at the World Trade Centre and Pentagon site, these lost and re-discovered artworks have served as rallying points to accomplish both the sharing of trauma and an artistically inspired foundation for the re-development of the lower Manhattan site. In the case of Rodin’s The Thinker, which was recovered at the site and later presumed stolen, the statue’s discovery alongside aircraft parts and twisted steel girders served as a unique and rare survival story, almost as the surrogate representative body for those human bodies that were never found, never seen. Dan Barry and William K. Rashbaum recall that in the days following the sculpture’s disappearance, “investigators have been at Fresh Kills [landfill] and at ground zero in recent weeks, flashing a photograph of ‘The Thinker’ and asking, in effect: Have you seen this symbol of humanity” (Barry and Rashbaum)? Given such symbolic weight, sculpture most certainly took on superhuman proportions. Yet, in the days that followed the discovery of artwork that survived the attacks, only passing references were made to those figurative paintings and drawings by Picasso, Hockney, Lichtenstein, and Miró that were lost – perhaps because their subject matter or manner of artistic representation did not (or could not) reflect a “true” infliction of damage and pain the way a three-dimensional, human-like sculpture could. Viewers visualised not only the possibility of their own cultural undoing by seeing damaged Rodins, but also the embodiment of unseen victims’ bodies that could not be recovered. In a rousing speech about September 11 as an attack upon the humanities and the production of culture, Bruce Cole stated that “the loss of artifacts and art, no matter how priceless and precious, is dwarfed by the loss of life” (Cole). Nevertheless, the visualisation of maimed, disfigured art was the lens through which many individuals understood the immensity of that loss of life and the finality of their loved ones’ disappearances. What the destruction and damaging of artwork on September 11 created was an atmosphere in which art, traditionally conjured as the studied and inanimate subject, transformed from a determined to a determining influence, a re-working of Paul Smith’s theory in which “the ‘subject’ … is determined – the object of determinant forces; whereas ‘the individual’ is assumed to be determining” (Smith xxxiv). Damaged sculptures gave representative form to the thousands of victims we, as a visualising public, knew were inside the towers, but their survival spoke to larger artistic issues: the impossibility of art’s end and the foiling of its death. Baudrillard’s notion of the “impossibility of ending” demonstrates that the destruction of art (in the capitalistic sense that is contingent on its undamaged condition and its prescribed worth and “value”) does not equate to the destruction of meaning as such, but that the new and re-negotiated meanings deployed by injured art frighteningly implicate us – viewers who once assigned meaning becoming the subjects who long to be assigned something, anything, be it solace, closure, or retribution. Importantly, the latest plans for the re-vitalised World Trade Centre site indicate that the damaged Rodin and Koenig sculptures will semiotically mediate the significations established when the original World Trade Centre was a vital nexus of activity in lower Manhattan, the shock and pain experienced when the towers collapsed and individuals were searching for meaning in art’s destruction and survival, and the hope many have invested in the new buildings and their role in the maintenance and recovery of memory. A Concluding Thought Digital manipulation, photography, and the re-contextualisation of artistic “masterpieces” from their hermetic placement in the gallery to their brutal dumping in a landfill have served as the humanistic prompts that actively determined the ways in which culture grappled with and shared unimaginable horror. Images have transformed in purpose from static re(-)presentations of reality to active, changing conduits by which pasts can be remembered, by which the intangibility of death can be given substance, by which unshared moments can be more intimately considered. Oddly, visualisation has performed simultaneously two disparate functions: separating the living from the dead through a panoply of re-affirming visual experiences and permitting the re-visitation of those times, events, and people that the human eye could not see itself. Ultimately, what the manipulations, misinterpretations, and destructions of art show us is that the conveyance of meaning between individuals, whether dead or alive, whether seen or unseen, is the image’s most pressing and difficult charge. Works Cited “Angel or Devil? Viewers See Images in Smoke.” Click on Detroit. 17 Sep. 2001. 10 February 2003 <http://www.clickondetroit.com/sh/news/stories/nat-news-96283920010917-120936.php>. Barry, Dan, and William K. Rashbaum. “Rodin Work from Trade Center Survived, and Vanished.” New York Times. 20 May 2002: B1. Barthes, Roland. Image, Music, Text. New York: Hill and Wang, 1977. Baudrillard, Jean. The Illusion of the End. Cambridge: Polity Press, 1994. Bernstein, J.M. The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno. Cambridge: Polity Press, 1992. Burgin, Victor. The End of Art Theory: Criticism and Post-Modernity. Atlantic Highlands, N.J.: Humanities Press, 1986. Cauchon, Dennis and Martha T. Moore. “Desperation Drove Sept. 11 Victims Out World Trade Center Windows.” Salt Lake Tribune Online. 4 September 2002. 19 Jan. 2003 <http://www.sltrib.com/2002/sep/09042002/nation_w/768120.htm>. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge: MIT Press, 1990. Mitchell, W.J.T. Picture Theory. Chicago: University of Chicago P, 1994. “Remains of a Day.” Time 160.11 (9 Sep. 2002): 58. Smith, Paul. Discerning the Subject. Minneapolis: U of Minnesota P, 1988. “The Accidental Tourist.” Urban Legends. 20 Nov. 2001. 21 Feb. 2003 <http://www.snopes2.com/rumors/crash.htm>. Links http://www.clickondetroit.com/sh/news/stories/nat-news-96283920010917-120936.html http://www.sltrib.com/2002/sep/09042002/nation_w/768120.htm http://www.snopes2.com/rumors/crash.htm Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Smith, Royce W.. "The Image Is Dying" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0304/09-imageisdying.php>. APA Style Smith, R. W. (2003, Apr 23). The Image Is Dying. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0304/09-imageisdying.php>